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Giovanni Boccaccio's The Decameron reflection
Giovanni Boccaccio's The Decameron reflection
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Recommended: Giovanni Boccaccio's The Decameron reflection
Marguerite of Navarre wrote The Heptameron, a series of short stories told to pass the time while stranded in a monastery. One of the stories she wrote was “Novel XXX.” This story is a cautionary tale about what can happen if one doesn’t stay pure.
The story of “Novel XXX” is about a widowed woman. So devastated by the loss of her husband, she vowed to stay celibate for the rest of her life. In order to avoid temptation, she moved her son and herself to a devoted society. One day, a young woman approached the mother, explaining that she was the son’s mistress. The mom, not believing the girl, told her to set up a late night meeting with the son. Come evening, the boy went to the bedroom and climbed into bed with the woman he found in his mistress’ bed. Unbeknownst to him, his mother was waiting for him there.
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. . Women of status were held to an even higher standard. If a prestigious woman is seen as being promiscuous, it would shame her entire family. . . .
. The Heptameron was heavily influenced by The Decameron by Giovanni Boccaccio. The book was criticized for being too controversial, but Boccaccio stuck by his claim that each story served a purpose by telling a story about morality. The Heptameron follows the same pattern, obscure stories that end with lessons. http://www.britannica.com/topic/Decadron.
- Against the backdrop of Boccaccian discourse. Marguerite's primary rhetorical task, then, is clearly not to please (delectare) but to teach (docere) her readership (Zallua, Zahi. "Marguerite De Navarre And The Challenge Of Ethical Criticism: History, Literature, And Exemplarity In The Heptaméron." Romance Notes 45.2 (2005): 131-139. Academic Search Premier. Web. 16 Nov. 2015.)
By Marguerite of Navarre including “Novel XXX” in The Heptameron, it shows that women felt similarly to men about purity. Women wanted to make sure that they represented their family in a respectable light. They also wanted to make sure they felt and we're perceived as marriageable
In Janet Lewis’ “The Wife of Martin Guerre,” the author illustrates the family dynamics of the sixteenth century. Martin would legally remain a minor for the extent of his father’s lifetime, and women’s identity and importance were only known through their husbands. However, Bertrande de Rols, the wife of Martin Guerre, is known as herself in this novel, which expresses that the novel was written according to her experience as the wife of Martin Guerre. Even though it wasn’t acceptable for women to go forward with such accusations, Bertrande de Rols did the right thing by pursuing Arnaud as an impostor because she knew he was not her husband, despite what everyone else said. In sixteenth century France, women were not independent and treated as equals as they are today.
Isobelle Carmody’s short story, “The Pumpkin-Eater”, portrays a middle eastern woman, a lone rider and former princess in the days of the crusades, retelling her story of her childhood living in a tower with her mother and maid, leaving to accept the engagement proposed by a prince, only to discover that in this, she is to be exchanging one prison for another. The discovery of self-reliance is seen through her leaving to take care of herself, to not be locked up and kept hidden away to preserve beauty. Foreshadowing of her journey is utilised through the drawing of tarot cards to set the story in motion. “I remember drawing the card of long journeying the year my firstblood came. The bird of my heart, caged for so long, beat its wings against my chest” The mention of her “firstblood”, a significant component to becoming a woman, as a normally hidden bodily function attends to the process of maturity, and the metaphor of the caged bird of her heart symbolises the anticipation and excitement to escape her tower prison to find love of her own. The drawing of this particular card acts as a catalyst to the protagonist’s story, providing reason for her to leave and start anew. The world the protagonist is confined to the tower, with her mother and her maid warning her from love, therefore, forming her basis of rebellion, challenging the views of the world seen through other’s eyes. “ ‘Was it love then?’
While examining nineteenth-century female monster, Susanne Beacker reveals that she remains a mere idea, a “voiceless textual object” in women’s gothic texts whose happy endings close to the retribution and exorcism of the monstrous woman and the entrapment of the heroine in the patriarchal system (72). In this context, DeLamotte contends that: Like the Good Other Woman, the Evil Other Woman often spends much of her life hidden away in the castle, secret room, or whatever, a fact suggesting that even a virtuous woman’s lot is the same she would have merited had she been the worst of criminals. The heroine’s discovery of such Other Women is in the one case an encounter with women’s oppression-their confinement as wives, mothers, and daughters-and in the other with a related repression: the confinement of a Hidden Woman inside those genteel writers and readers who, in the idealization of the heroine’s virtues, displace their own rebellious
During this time period women were not respected at all and were belittled by all med in their lives. Even though men don’t appreciate what women they still did as they were told. In particular, “Women have an astoundingly long list of responsibilities and duties – th...
Unknowingly, Hester Prynne sailed from Europe to the Americas betrayed and tricked. Waiting for the arrival of her husband, Roger Chillingworth, she lost hope in him ever arriving or even still being alive. After enduring two years of tortured loneliness and lost love, Hester wished to feel the warmth of love again. She tried to fill this emptiness by making love with the Reverend Dimmesdale. When her child Pearl was born, Hester's adulterous sin was discovered and she was cast out from their society and required to wear an embroidered “A” on her bosom in punishment. Hester felt guilt for her sin the rest of her life and sought repentance and absolution until the time she died. Hester never had true love for Chillingworth, but was tricked into marriage. She later told him this while speaking in her jail cell saying to him, “... thou knowest that I was frank with thee, I felt no love, nor feigned any” (Hawthorne, page #). Hester was betrayed, tricked and allowed herself to become caught up in the evil desires of another. She then allowed herself to be trapped by sin, cau...
In the last half of the nineteenth century, Victorian ideals still held sway in American society, at least among members of the middle and upper classes. Thus the cult of True Womanhood was still promoted which preached four cardinal virtues for women: piety, purity, submissiveness, and domesticity. Women were considered far more religious than men and, therefore, they had to be pure in heart, mind, and, of course, body, not engaging in sex until marriage, and even then not finding any pleasure in it. They were also supposed to be passive responders to men's decisions, actions, and needs. The true woman's place was her home; "females were uniquely suited to raise children, care for the needs of their menfolk, and devote their lives to creating a nurturing home environment." (Norton, 108). However, the tensions between old and new, traditional and untraditional, were great during the last years of nineteenth century and there was a debate among male and female writers and social thinkers as to what the role of women should be. Among the female writers who devoted their work to defying their views about the woman's place in society were Charlotte Perkins Gilman and Kate Chopin.
Hester Prynne, the heroine of Nathaniel Hawthorne’s The Scarlet Letter, exhibits considerable character growth both over the course of her life and during the events of the novel. Her view of herself and her perspective on the role of women in the world evolve as she learns from new experiences. She moves through the stages of self-centered happiness in her childhood, deep despair and depression as an adult, and a later more hopeful and selfless existence.
“Like a river flows so surely to the sea darling, so it goes some things are meant to be.” In literature there have been a copious amount of works that can be attributed to the theme of love and marriage. These works convey the thoughts and actions in which we as people handle every day, and are meant to depict how both love and marriage can effect one’s life. This theme is evident in both “The Storm” by Kate Chopin and “The Yellow Wallpaper” by Charlotte Gilman; both stories have the underlying theme of love and marriage, but are interpreted in different ways. Both in “The Storm” and in “The Yellow Wallpaper,” the women are the main focus of the story. In “The Storm” you have Calixta, a seemingly happy married woman who cheats on her husband with an “old-time infatuation” during a storm, and then proceeds to go about the rest of her day as if nothing has happened when her husband and son return. Then you have “The Yellow Wallpaper” where the narrator—who remains nameless—is basically kept prisoner in her own house by her husband and eventually is driven to the point of insanity.
Many short story writers have written about the gender and role of woman in society. Some of these stories express what Barbara Walter calls, “The Cult of True Womanhood” meaning the separation of both man and woman in social, political and economic spheres. In order to be considered a “true woman” woman were to abide by the set of standards that were given to her. Women were expected to live by the four main principal virtues - piety, purity, submissiveness, and domestication. In Kate Chopin’s short story, “The Storm,” Calixta the main female character breaks away from “The Cult of True Womanhood” when she has a sexual encounter with her past lover Alcée. The storm goes through many twists and turns that tie with their adulterous actions. Although she breaks away from the four main principal virtues, she in the end is considered to be pure innocent of heart because the action in which occurred happened instantly, and as white as she was, she was taken away from her innocence.
The evolution of technology has had a great impact on our lives, both positive and negative. While it is great to be able to be able to travel faster and research anything with the smartphones that now contain almost every aspect of our daily lives, there are also many advances within the realm of technology. Nicholas Carr presents information on the dependency aircraft pilots have on automated technology used to control airplanes in the article “The Great Forgetting”. Likewise, in “Is Facebook Making Us Lonely?” written by Stephen Marche, the result of isolation and pseudo relationships created by social media is shown throughout the article. We live in such a fast paced society with so much information at our fingertips that we don’t make
Women “were expected to bear children, stay home, cook and clean, and take care of the children” (Cobb 29). They were expected to be weak, timid, domestic, emotional, dependent, and pure. Women were taught to be physically and emotionally inferior in addition morally superior to men. During this time, women were ostracized for expressing characteristics and wants that contradicted those ideals. For women, the areas of influence are home and children, whereas men’s sphere includes work and the outside world” (Brannon 161).
Furthermore, females were expected to follow and meet certain standards and expectations. One of which was obey a male’s commands and stay silent. This was not always the case with every woman. Women such as Vashti, who refused to give in to her husband’s whims, or Sandra Cisneros who chose not get married and escaping the life lessons she had seen. Women are assigned set expectations and standards, but not every woman will follow these
Story, Amy E. “Simone de Beauvoir and Antigone: feminism and the conflict between ethics and
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.
It reflects a belief in an ideal woman such as the Virgin Mary. This ideal woman is gentle, passive, virtuous and self-sacrificing. In the 19th century, there was an belief in the “Cult of True Womanhood.” It was an idea similar to marianismo, where the virtues were piety, purity, submissiveness, and domesticity. Religion was considered a natural sphere for women and for the ability as moral centers to influence men. To be a “True Woman” gave a woman the ability to make a better man. Purity, of course, was essential. No good woman ever considered lewdness or sin. Submission was dictated in the Bible and was an essential part of family life. Women wanted a strong man and the man needed to be the head of the family. It carries over into modern households, where the man is the breadwinner and often domestic violence is just the man getting his wife in line. Domesticity was the obvious “women belong in the home” and “real women take care of their children, not their career.” Women were wives and mothers, taking care of their kinfolk and making a beautiful home. Few women were able to live up to this ideal, then and now. However, the traces of it still linger in the media and in social expectations of